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1tkman

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  1. Like
    1tkman reacted to jcs in Canon 5D Mark IV rumors   
    Since the XC10 has 422 8-bit 4K I would expect the 5D4 to provide the same or more (perhaps 10-bit). So far Canon only appears to support MJPEG for 4K (ALL-I XF-AVC is effectively a form of MJPEG). This would appear to indicate that their processors aren't very powerful and/or thermally efficient enough to support long GOP 4K, which can produce much smaller files.
    Canon's workaround for only supporting ALL-I 4K is to require CFast cards, which are still very expensive. ALL-I 4K looks great, especially when's there is lots of motion, however for most interview/narrative shots long GOP (IPB) looks just as good and greatly saves disk space.
    The 5D4 with ALL-I 422 8/10-bit 4K and CFast 2.0 would make sense given Canon's current hardware capability. This might require a new chip- the DIGIC DV chips are more for video cameras (vs stills as with DIGIC).
    Given that Sony is catching up to Canon for skintones on the A7S II for example, Canon's biggest advantage is the amazing autofocus/MF assist with EF lenses (C300 II AF works very well so far). Adding that system to the 5D4 would be compelling.
  2. Like
    1tkman reacted to Michael Ma in New Lumetri Color in Premiere Pro CC2, changed my entire workflow overnight   
    Have you guys been working with the Lumetri Color in Premiere Pro CC2?  I haven't heard much talk about it but I think it deserves some attention for people who may have missed the release notes.  Just found it myself, but it literally has changed my entire workflow overnight.
    My old workflow used to be Levels, RGB Curves, and maybe either Filmconvert, Colorista II, or a LUT.  But....I find none of that necessary anymore with Lumetri Color.  
    Everything corrects and grades so easily like you're editing a frame in Adobe Camera Raw.  Temperature, Tint, Exposure, Contrast, Highlights, Shadows, Whites, Blacks, Saturation....all the sliders are there.  And surprisingly, it seems to work very well with 8 bit frames.  It knows of S Log2, S Log 3, etc.  The rgb curves are incorporated into the filter.  It also has tools with Color Wheels, LUTs, Vignettes.
    And it renders fast.  One more thing.  Not sure when it appeared but the Lumetri Scopes Window has a live histogram that I've always been wanting and needing.
  3. Like
    1tkman reacted to jcs in New Lumetri Color in Premiere Pro CC2, changed my entire workflow overnight   
    Hey Michael- I've been using the Lumetri panel for a while and indeed it is very cool. In terms of UI and editing speed, it is much faster. In terms of runtime performance, it feels a little slower than using a combination of Mercury-accelerated effects, e.g. Fast Color Corrector + Curves (1 or more) + ProcAmp +  3-Way Color Corrector + Sharpen [when needed] (12 3GHz cores, GTX 980ti on dual 4K displays, Windows 10). Perhaps turning off unused panel elements will speed things up. A sampler/dropper tool for white balance would be a helpful addition.
  4. Like
    1tkman reacted to Jimbo in New Lumetri Color in Premiere Pro CC2, changed my entire workflow overnight   
    Dam, I just watched a preview video on Lumetri and wish FCP X had this kind of panel. These tools are perfect for about of 95% of what I do and I find FCP X's colour board clunky. I can't move fast as I want to. However, I'm a big fan of FCP X and the magnetic timeline, I can work very quickly and not sure a switch to Premiere just for Lumetri makes sense.
    Anybody switched? How do you find Premiere?
  5. Like
    1tkman reacted to Andrew Reid in Darn it, banned again from DVXUSER!   
    Shall I rename this forum DVXrefugees?
    Personally, I wear my ban as a badge of honour.
  6. Like
    1tkman reacted to Ed_David in Darn it, banned again from DVXUSER!   
    I wasn't even being a jerk this time! They found out I was banned before for life.  
     This is my only forum now besides nofilmschool and cinematography.com.  Until I get banned here.
  7. Like
    1tkman reacted to HelsinkiZim in What "style" of edit is this ?   
    There is something else I would like to add...
    I have massive amounts of respect for watchtower of Turkey because he couldn't crop 4k to 1080. The same goes for Matty Brown. They physically whip the camera away after they get the shot. What others are doing now is taking static shots in 4+K and panning and scanning. But keep in mind that this will only look natural if you use curves and expressions in AFX.
    I have seen some videos where the filmmaker did not take this into account and their videos didn't resonate with the audience so well. I will not be linking to these out of respect for their effort.
     
  8. Like
    1tkman reacted to Orcadia in What "style" of edit is this ?   
    Hi Xavier, it is a form of  "invisible cut "editing, there was a brilliant article on the technique on nofilmschool last month. Real eye opener. I hadn't realized myself but its an incredibly sophisticated technique of very carefully matching shots that are visually similar or connected. In particular the motion and  speed of motion of  the cut shots is vital. its very time consuming to get right apparently.
  9. Like
    1tkman reacted to Sekhar in What "style" of edit is this ?   
    Oh no, Xavier, by story I meant any coherent message that the images speak as a whole, the subtext, the underlying message that talks to us as humans at a higher, intellectual level rather than at a purely sensory (visual/auditory) level. E.g., many interpreted even the little pizza rat clip as an underdog "story." A more obvious example is of the buffalo that saved its calf from lions that clearly has a "story" I'm talking about (a beginning, middle, and end, to use the cliche).
    If there was such a message in Watchtower of Turkey, I didn't get it. It seemed to me like a juxtaposition/collage of beautiful images, much like a Victoria's Secret fashion show. E.g., frenetic cuts like that can indicate a frenzy of wild activity, but I don't believe that's what this filmmaker intended for the tourist viewers. What then was the purpose of this kind of cut other than to look cool and generate discussions like this?
    Anyway, I sense clear disdain and disapproval of my comments here (talking of subtext, I can easily read "what the heck do you know?"). But guys, rather than immediately push back, please consider what I said and discuss because we're all trying to be better filmmakers, and I for myself might be missing an important point here.
  10. Like
    1tkman reacted to Andrew Reid in How to avoid Blackmagic Production Camera 4K fixed pattern noise   
    Above: my sample showing no fixed pattern noise in low light at ISO 400 on the Production Camera - it's all about the grade

    Almost all Blackmagic Production Camera users have experienced fixed pattern noise - a banding effect or grain texture over the image - and they are quite upset at Blackmagic over the issue. But is the fixed pattern noise problem on the Blackmagic Production Camera a case of faulty cameras OR is it a limitation of the spec?

    This is a complex issue and every user seems to report something different. However in my own experience with the camera and of looking at the experiences of others I have to say that all units look to perform in the same way. It is a limitation of the spec, not a case of a large number of faulty units being shipped out.

    Yet many users - over 200 of them - are now putting pressure on Blackmagic to acknowledge a hardware or quality control 'fault' and to do hardware replacements. Sorry but I just don't think this is right.

    It is best to look at how to handle the camera in order to avoid the FPN in the first place...

    Read the full article here
  11. Like
    1tkman reacted to AaronChicago in Corporate Shoot - Gear Advice   
    I totally know what you mean. Go to flickr, or pinterest and look at wedding photos, family photos, headshots. They all look the same b/c they're shot with a 5D and an L lens.
  12. Like
    1tkman reacted to Policar in Corporate Shoot - Gear Advice   
    I don't see it. The "look" of lenses is subtle, so much so that I recently confused Summiluxes on a project I'm posting on for S4s, and I normally can tell. (The bokeh and lack of distortion should have been a sign, but it was a short spot in relatively deep focus.)
    What makes the difference is the lighting and compositions. A lot of Nikon and Canon glass (and Leica glass) has been rehoused–even by Panavision–and used on major features. When I shot Canon glass against Angenieux higher end zooms the biggest difference was mechanics and the second biggest was actually a quite major advantage in the Angenieux wide open.
    That said the skill-set of a videographer and a photographer are closer-matched, so the correlation does exist between those favoring photo gear and giving a "wedding photo" look, but that correlation has more to do with style than with how lenses render. That's a very very subtle distinction.
  13. Like
    1tkman reacted to Gregormannschaft in Corporate Shoot - Gear Advice   
    Love this place, thanks for all the help guys. Nick, I'll download that guide you recommended.  

    The rental price for some Zeiss CP.2 prime lenses aren't too bad. I might use a 85mm and a 35mm for the day. I also have an old vintage lens, not sure if it will resolve enough detail for 4k but I'd love to give it a shot. It's an old 50mm 2.8 Jena lens...plenty of problems with it but always felt it adds a lot of character.

    And regarding the rest of the lens conversation, I'm pretty damn unexperienced. Have only done self funded doc work and some corporate shoots. So it's probably right that I have the videographer look going on.

     
  14. Like
    1tkman reacted to Nick Hughes in Corporate Shoot - Gear Advice   
    I personally like the look of Canon lenses. The clean, modern look appeals to me (depending on the project). The 24-105, however, is probably the lowest tier L lens they have. I think renting a set of primes would really do you well. 24, 50, and 135 (or 85) would be a solid combo. 
     
    The FS7 is not that bad to use. There are certainly much better designed cameras and menu systems, but once you wrap your head around where everything is (and set up your user menu), it's workable. It can definitely shoot solid handheld out of the box, but can get to be a little painful after hours and hours of shooting on your shoulder. I've been working on a show recently that has the Zacuto recoil built onto the FS7 and it's been a dream to shoot with. 
     
    Recording times for XQD cards. 
     
    You could lock it down on a manfrotto tripod, but you'd want to keep and eye (or hand) on it at all times. 
     
    If you do decide do go with the FS7, I highly recommend renting this Master class by Doug Jensen. It's a hefty $85, but you get six hours of detailed lessons on how and why to set up the camera in certain ways. I watched the whole thing before starting the show I'm on and was up and running with the FS7 right away.
  15. Like
    1tkman reacted to Gregormannschaft in Corporate Shoot - Gear Advice   
    Thanks for the feedback, this is helpful. I was planning on using the Canon 24-105mm L lens. This is a bad choice because...they lack character? Are overly sharp? Philip Bloom (not the benchmark, just happened to watch his FS7 review to plan) uses Canon L lenses and his footage looks pretty good.
  16. Like
    1tkman reacted to AaronChicago in Corporate Shoot - Gear Advice   
    FS7 is nice, but the menu system is pretty bad, and it's not ideal for situations where you're under the gun and have to move fast. The camera has to shut down and reboot to change any major settings. If it's a corporate shoot where you have time to setup for each shot then yeah, I'd say it's a good option.
  17. Like
    1tkman reacted to Gregormannschaft in Corporate Shoot - Gear Advice   
    Hey folks.

    I'm flying to LA next month to do a corporate BTS shoot. It will be the 3rd one I've done for this company and now I have a pretty open budget. I shot the first two with the Sony A7s, and I was relatively happy with the results but you can still tell it's shot on a lower tier camera. I'd like to give this newer film a more professional aesthetic. 

    We had folks visit our offices a few months back and shoot on Arri Amira. I can't stretch that far, but was thinking about the Sony FS7. I'd like to shoot in 4K and downscale it to 1080p delivery. Only problem is, I've never used the camera before and am a little nervous about shooting a project with a camera I've never used before. Does anyone have any advice about this?

    I've looked at a few video walkthroughs and reviews to get a better idea of how to set it up. I'm a little bit more concerned about equipment.

    I'd like to handheld shots, does anyone know if it's useable out of the box?
    I guess we'd need to buy XQD cards. Would 128GB be sufficient for about an hour of 4k footage?
    Would I be able to lock it down on my Manfrotto tripod? Would I need a new baseplate? Can I screw in my shitty cheap one?

    The other option was hiring an Atomos Shogun, but I think we'd also still need to buy media for that. And a rig or cage, I guess, to secure it to the camera. And quality wise, would the FS7 still blow it outta the water?

    Any tips/advice would be greatly appreciated. 
  18. Like
    1tkman reacted to Hans Punk in Semi-Pro SoCal Colorists   
    You might be surprised from approaching an established post company or a professional colorist directly. Sometimes at post houses people get trained up on Baselight or Resolve by taking on lower budget/ indy projects to get more real-world project experience. No harm in asking nicely, you may get lucky.
    I've seen it work before, some post companies are grateful if they can use it as a test project in their down time for a trainee or if it is an uncommon file format/camera for them to usually expect, sometimes it is good for them to test. I worked on a project a few years back where Technicolor did the Di for free, simply because they wanted to test how far lowlight 5Dmk2 footage could be manipulated (or not).
    Pretty hilarious that a virtually zero budget short film could put 'color by Technicolor' on it's credits. 
    A quality grade is almost as important as getting a good sound mix IMHO. There are some great looking films online that people can do in their bedroom now with a free version of Resolve, but very few will be using correctly calibrated monitors or have properly learnt the craft.
    If they had, they'd be working in the 'biz' already.
    Just my two cents.
  19. Like
    1tkman reacted to fuzzynormal in Semi-Pro SoCal Colorists   
    So, I need a hand in grading my 30-minute doc.  I'd really like to hire someone with serious skills in coloring, but outside of the "biz," because I can't afford those types of rates...although I CAN afford to compensate reasonably.  Very indy, you know?  I've dabbled, but I tend to end up making stuff look somewhat ridiculous rather than polished, so I really need to rectify this issue.
    Also, I'd love to watch the process and ask dumb-ass questions along the way so I can glean some knowledge.
    I'm not sure if this sort of thing is an appropriate request, but it doesn't hurt to ask, so I'm asking.  And if this should be posted elsewhere, let me know.  
    Are you self-taught and really good at coloring your own stuff, but would like to make some U.S. dolores showing an idiot how it's done on his short film?  Or, do you have a friend that's talented and is looking for a gig?  If so, I'd love to hear from you. 
    Or...heck, even some advice would be appreciated...
     
  20. Like
    1tkman reacted to Mattias Burling in Canon XC10 4K camcorder   
    For people wondering how its works as an event RnG type of camera. This coverage from the Canon Expo was also shot on the XC10.
  21. Like
    1tkman reacted to barefoot in Nebula 4200 - 5-axis gimbal   
    Although I'm not in the more experienced group, I don't get the cynicism myself. Personally, I'm a fan of their one handed gimbal, Nebula 4000lite, which, if I'm not wrong, was a first of its kind at the time. Top marks for portability, with its weight limit (around 1 kg) being the only problem. Naturally I'm excited their newer one handed gimbal can take on more load (at least 1.2kg). Even their 5-axis model seems to be a big step up for me in terms of portability from the normal double-handed 3-axis gimbals.
  22. Like
    1tkman reacted to Danny Chen in Nebula 4200 - 5-axis gimbal   
    I would pre-order this, if there was actual footage.  Still waiting, otherwise I would already have picked it up.
  23. Like
    1tkman reacted to NX1user in Nebula 4200 - 5-axis gimbal   
    The more days go by without a video of real test footage, the more skeptical I am about this product. Seriously, the people on this forum know that a demo video could be put together in less than a day. There must be some issue with the gimbal or manufacturing.
  24. Like
    1tkman reacted to Emanuel in Nebula 4200 - 5-axis gimbal   
    Things require time to be made, correct?
     
    The problem with these forums is the fact people from so different origin come to post and say anything as it is the most consensual truth. As matter of fact, experience speaks on our behalf. We can't put some worker with one, two or more decades of experience in the same basket of some young fellow anxious to see the bird out of the cage. I'm sorry but that's what it is. Our actions speak by itself. To infer some manufacturer has some trouble because didn't post any sample footage in half dozen of days, only pops up as evidence of it. Instead.
  25. Like
    1tkman reacted to Gregormannschaft in Sony A7S II is out!   
    Isn't it a tad strange this is shipping next Friday in the States, and there's been no more footage or first impressions...or anything?
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